12. květen - 3. červen 2009 12 May - 3 June 2009

Pod záštitou prezidenta České republiky
Václava Klause
Ve spolupráci s Ministerstvem kultury
České republiky
Partnerem festivalu je hlavní město Praha
Oficiální doprovodná akce
předsednictví ČR v Radě EU
Under the patronage of the President
of the Czech Republic Václav Klaus
In association with the Ministry
of Culture of the Czech Republic
The City of Prague is a Partner of the Festival
Official Event to Accompany the Czech
Presidency of the Council of the EU
Člen Evropské asociace festivalů
a Asociace hudebních festivalů České republiky
Member of the European Festivals Association
and the Czech Association of Music Festivals
12. květen - 3. červen 2009
12 May - 3 June 2009
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21
květen, čtvrtek
May, Thursday
Smetanova síň 20:00
Smetana Hall, 8pm
Pod záštitou velvyslance Lucemburského velkovévodství
Under the auspices of the Ambassador of Luxembourg to the Czech Republic
Bohuslav Martinů
La Rhapsodie, H 171 (Allegro symphonique)
Sergej Rachmaninov
Koncert pro klavír a orchestr č. 3 d moll, op. 30
Concerto for Piano and Orchestra No. 3 in D minor, Op. 30
Allegro ma non tanto
Intermezzo. Adagio
Finale. Alla breve
přestávka interval
Antonín Dvořák
Symfonie č. 7 d moll, op. 70
Symphony No. 7 in D minor, Op. 70
Allegro maestoso
Poco adagio
Scherzo. Vivace
Finale. Allegro
NIKOLAJ LUGANSKIJ – klavír piano
Český rozhlas realizuje záznam koncertu pro vysílání stanice Vltava (25. 5. 2009)
a rozhlasy Evropské vysílací unie (EBU). Czech Radio is recording this concert for broadcast on Vltava radio station (25 May, 2009)
and radio stations affiliated to the European Broadcasting Union (EBU).
ORCHESTRE PHILHARMONIQUE
DU LUXEMBOURG
EMMANUEL KRIVINE – dirigent conductor
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Ruský skladatel Sergej Vasiljevič Rachmaninov (1873–1943) byl sám vynikajícím klavíristou, jedním z nejlepších v první polovině
20. století. Vystupovat jako sólista začal však už
koncem devadesátých let 19. století, uplatňoval
se jako doprovazeč (mj. s Fjodorem Šaljapinem)
a působil i jako operní dirigent. V prosinci roku
1902 koncertoval také v Praze. Svému nástroji
věnoval řadu ryze sólových skladeb – preludií,
etud apod., ale také Rapsodii na Paganiniho
téma a především čtyři klavírní koncerty, jejichž
sólové party patří k tomu nejnáročnějšímu, co
kdy bylo pro klavír napsáno, a všechny vzbudily
hned po svém prvním zaznění velkou pozornost a ohlas.
Koncert pro klavír a orchestr č. 3 d moll, op. 30
zkomponoval v roce 1909 v Ivanovce, kde v létě
pobýval. Zamýšlel ho pro svou první koncertní
cestu po Spojených státech, kde měl od listopadu 1909 do února 1910 vystoupit na 26
koncertech jako klavírista a dirigent. Koncert,
jehož sólový part cvičil údajně na lodi během
cesty, pak poprvé provedl 28. listopadu 1909
s New York Symphony Orchestra a dirigentem
Waltrem Damroschem. Zanedlouho byl koncert hrán znovu, tentokrát za řízení Gustava
Mahlera. Koncert d moll nese všechny znaky
Rachmaninovova stylu. Je výsostně virtuózní
(slavný polský pianista Josef Hofmann, kterému je dílo věnováno, je nikdy neprovedl),
lyrický a z dnešního pohledu až místy patetický,
s harmonicky bohatou zvukovostí a široce založenou melodikou. Díky tomu je málem stejně
populární jako Rachmaninovův Druhý klavírní
koncert; autor sám mu dokonce dával přednost.
Antonín Dvořák (1841–1904) patří k předním světovým symfonikům. Z jeho devíti
symfonií jich nejméně polovina pravidelně
zaznívá na světových pódiích. Patří k nim
i skladatelova Symfonie č. 7 d moll, op. 70, která
vznikla během tří měsíců na přelomu let 1884
–1885. Dvořák měl za sebou první světové
úspěchy, pracoval v obzvláštní pohodě a práce
mu šla dobře od ruky. Krátce předtím dokončil
kantátu Svatební košile na objednávku festivalu
v Birminghamu, a v Londýně (kde bylo jeho dílo
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s nadšením přijímáno) ho Filharmonická společnost, jejímž byl čestným členem, požádala
o novou symfonii. Dvořák se rozhodl, že bude taková, „aby hýbala světem, no, a dá bůh, že
tak bude“. Dvořák se prý také chtěl vyrovnat s Brahmsovou Třetí symfonií a mistrovsky se
mu to podařilo.
Symfonie d moll je – typicky dvořákovsky – invenčně nesmírně bohatá a navíc dokonale
logicky vystavěná. Oproti předchozím ji více prozařuje duch evropské než slovanské hudby. Obrovské množství nápadů se promítá hned do sonátové formy 1. věty, která exponuje
ve dvou hlavních liniích několik vzájemně souvisejících témat. Meditativní 2. věta s rušnějším středním dílem předchází symfonické Scherzo 3. věty, jakýsi přízračný tanec, přerušený
jen v prostém triu. V závěrečném Allegru Dvořák zpracovává a shrnuje i témata předchozí,
především z první věty. Symfonie d moll tak končí skvělou ukázkou skladatelova variačního a kontrapunktického mistrovství. Premiéru v St James Hall Filharmonické společnosti
v Londýně dirigoval sám Antonín Dvořák a došlo k ní 22. dubna 1885.
Jana Vašatová, 2009/2006/2007
Bohuslav Martinů (1890–1959) is familiar to world audiences
chiefly for his operas and six symphonies which he only began writing during the war, however, when he was living in the United States.
The first is dated 1942, the rest appeared at yearly intervals up until
the year 1946, except the Sixth, which waited a full seven years for
its completion. Thus it appears that he wanted to give himself time
before deciding to confront this compositional genre. Nevertheless,
he probably made his first attempt (a work now lost) in his native
Polička back in 1912, and he resolved to try again in 1928 during
his sojourn in Paris. The result was the single-movement La Rhapsodie, also known as Allegro symphonique, the title Martinů originally
wrote at the top of the score.
The piece was to have been the basis for a symphony which he
had intended dedicating to conductor Serge Koussevitzky. The latter had already premiered Martinů’s La Bagarre (Vřava) to great acclaim in Boston in the autumn of 1927 and the composer wished to
draw Koussevitzky’s attention to a new work. In the end, there was
nothing to show for the symphony except the crossed-out heading
in the manuscript and the note “Pour Darney”, which was a small
town in the French district of Vosges, where the 1st Czechoslovak
brigade, French legionnaires, were concentrated for six months
during the First World War. They were also visited by T. G. Masaryk
and, on 30 June 1918, their military inspection was performed by
French President Raymond Poincaré who also presented them with
a banner, a gift from the City of Paris, as a symbol of the official acknowledgement of the Czechoslovak state. The tenth anniversary of
this event was remembered in a special ceremony in 1928. Martinů,
probably instigated by the legation in Paris, decided to commemorate this anniversary as well; thus this piece is also referred to as the
“Military Symphony”.
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In La Rhapsodie, written as a tribute to the
events of that time, lyrical and chorale-like
meditative passages alternate with burnished
military signals; the piece is full of energy and
ceremonial atmosphere. The premiere of the
work – going by the title “La Symphonie” – was
held in Boston on 14 December; the Boston
Symphony Orchestra was conducted by Serge
Koussevitzky. During its time, the performance
of the Rhapsodie also had important social significance, as indicated in a letter Martinů sent
to Miloš Šafránek while he was spending the
summer in Polička: “I was so delighted to receive a letter from Minister Beneš, mother was
completely stunned by it.” The work was also
presented by Ernest Ansermet and Walter Straram, but then it practically disappeared from
concert programmes altogether. In this country
it was performed most recently in 2001 by the
Czech Philharmonic under Kurt Sanderling.
Russian composer Sergei Vasilyevich Rachmaninov (1873–1943) was himself an excellent
pianist, one of the finest during the first half of
the 20th century. He began appearing as a soloist at the end of the 1890s, he worked as an
accompanist (with Fyodor Shalyapin, among
others) and he was also an opera conductor. He
performed in concert in Prague in December
1902. He dedicated a number of purely solo
works to his instrument – preludes, etudes
and so on, but also the Rhapsody on a Theme
of Paganini and, above all, four piano concertos, whose solo parts are some of the most
technically demanding ever written for the piano; all of them generated a great deal of
excitement and critical acclaim after their very first performance.
Rachmaninov wrote Concerto for Piano and Orchestra No. 3 in D minor, Op. 30, in 1909 in
Ivanovka, where he spent his summers. He had in mind to play this piece during his first
concert tour of the United States where, during the period November 1909 to February
1910, he was to perform 26 concerts as both pianist and conductor. He premiered the concerto, which he is said to have practised on the boat journey over, on 28 November 1909
with the New York Symphony Orchestra under conductor Walter Damrosch. It was not long
before the concerto was performed again, this time under Gustav Mahler. The Concerto in
D minor bears all Rachmaninov’s stylistic traits. It is supremely virtuoso in character (the
famous Polish pianist Josef Hofmann, to whom the work is dedicated, never performed it),
lyrical and, from today’s point of view, even impassioned in places, with a rich harmonic palette and broad, sweeping melody. Thanks to these qualities, the work is almost as popular
as Rachmaninov’s Piano Concerto No. 2; the composer himself even preferred it.
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Antonín Dvořák (1841–1904) is a leading
world symphonic writer; of his nine symphonies,
at least half of them are regularly performed on
international concert platforms. These include
the composer’s Symphony No. 7 in D minor,
Op. 70, which was written during the space
of three months in late 1884 and early 1885.
Dvořák already had his first world successes
behind him, he was in a very relaxed frame of
mind for the task and he found the work effortless. Shortly beforehand he had completed the
cantata The Spectre’s Bride, a commission from
the Birmingham festival, and in London (where
his work had been extremely well received),
the Philharmonic Society, of which he was an
honorary member, requested a new symphony
from him. It was Dvořák’s intention to write
a work which would “move the world; well, God
willing, it will”. Dvořák is said to have aspired to
create a work of the calibre of Brahms’s Symphony No. 3, which he certainly succeeded in
doing.
The Symphony in D minor is – typically for
Dvořák – a masterpiece of invention and, moreover, is flawlessly and logically constructed. Unlike his previous symphonies, the work reflects
much more the spirit of European than Slav
music. A myriad ideas are projected into the score at the very beginning, in the sonataform scheme of the first movement which, tracing two major lines, exposes several mutually related themes. The meditative 2nd movement, with its more lively middle section,
ultimately gives rise to the symphonic Scherzo of the 3rd movement, a kind of ethereal
dance, interrupted only in the simple trio. In the closing Allegro, Dvořák also elaborates
and recapitulates previous themes, particularly from the first movement. The Symphony in
D minor thus ends with a dazzling example of the composer’s variational and contrapuntal
genius. The premiere organised by the Philharmonic Society at St James’s Hall in London
was conducted by Antonín Dvořák himself on 22 April 1885.
Jana Vašatová, 2009/2006/2007
English translation by Karolina Vočadlo Hughes, 2009/2006/2007
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NIKOLAJ LUGANSKIJ (1972) pochází
z Moskvy, kde získal hudební vzdělání u věhlasné klavíristky a pedagožky Tatiany Nikolajevové
a kde také dodnes žije. Jeho mimořádný talent
byl rozpoznán v mezinárodních soutěžích,
z nichž si odnášel nejvyšší ceny – Bachova soutěž v Lipsku (1988), Celosvazová [SSSR] soutěž
Rachmaninova (1990) a především triumfální
úspěch na Čajkovského soutěži v Moskvě roku
1994, který mu vynesl bezprostřední pozvání
na přední koncertní pódia po celém světě.
Jeho americký debut se odehrál v losangeleském Hollywood Bowlu v rámci turné Kirovova
orchestru (Mariinského divadla v Sankt Petěrburgu) s Valerijem Gergijevem v roce 1996. Tentýž rok debutoval mladý klavírista na festivalu
Pražské jaro.
Nikolaj Luganskij je dalším v řadě mezinárodně respektovaných pianistů vzešlých z klasické
ruské školy. Patří k současné špičce, hraje s těmi
nejlepšími orchestry v Evropě (Orchestre National de France, Orchestre de Paris, londýnská
Philharmonia, London Philharmonic Orchestra,
Royal Concertgebouworkest, Rotterdamská
filharmonie, Berlínští symfonikové, Mnichovská
filharmonie, Drážďanská filharmonie, lipský
Gewandhausorchester), USA (zejména San
Francisco Symphony, Los Angeles Philharmonic, Pittsburgh Symphony) a v Japonsku (Tokyo
Philharmonic). Stejně tak hvězdný je i výčet dirigentů, pod nimiž vystupuje: Paavo Berglund,
Riccardo Chailly, Christoph Eschenbach, Marek
Janowski, Neeme Järvi, Vladimir Jurovsky, Emmanuel Krivine, Charles Mackerras, Kurt Masur, Kent Nagano, Sakari Oramo, Michail Pletnev, Jukka-Pekka Saraste, Jurij Těmirkanov aj.
Luganskij se zaměřuje na standardní kmenový repertoár klavíristů s mírnou převahou
ruské hudby. Jeho doménou je Sergej Rachmaninov, jehož kompletní klavírní odkaz, pro
sólový nástroj a s orchestrem, hrává po celém světě a také jej natočil. Obdržel za nahrávky mnohonásobná ocenění (Diapason d´Or, Preis der deutschen Schallplattenkritik, Echo
Klassik a další). V roce 2004 získal čestné občanství Ivanovky (letní sídlo Rachmaninova
v tambovské gubernii, asi 600 km jihovýchodně od Moskvy) jako uznání za uměleckou
a finanční podporu tamního Muzea Rachmaninova. Obsáhlá diskografie Nikolaje Luganského zahrnuje také téměř kompletní dílo Chopina, Čajkovského Klavírní koncert b moll
s Ruským národním orchestrem pod Kentem Naganem (PentaTone Classics), v posledních
letech zejména na labelu Warner Classics jsou to disky s komorními a koncertními skladbami Prokofjeva, Beethovenovy sonáty, ale také komorní hudba (Chopin, Rachmaninov)
s violoncellistou Alexandrem Kniazevem (ECHO Klassik 2007).
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Nikolai Lugansky (1972) is a native of Moscow, where he received his musical education from celebrated pianist and teacher Tatiana Nikolayeva; the city is now his home. His
supreme talent was recognised at international competitions where he garnered the highest awards – the International Bach Competition in Leipzig (1988), the All-Union [USSR]
Rachmaninov Competition (1990) and, in particular, his triumphant win at the Tchaikovsky
International Competition in Moscow in 1994, which immediately led to invitations to
perform at major concert venues all over the world. He gave his American debut at the
Hollywood Bowl in Los Angeles during a tour with the Kirov Orchestra (Mariinsky Theatre in
St Petersburg) and Valery Gergiev in 1996. The young pianist debuted at the Prague Spring
festival that same year.
Nikolai Lugansky has been hailed as the next in line of a series of great Russian pianists.
Already a major artist, he performs with the finest orchestras in Europe (Orchestre National
de France, Orchestre de Paris, London Philharmonia, London Philharmonic Orchestra, Royal
Concertgebouworkest, Rotterdam Philharmonic, Berlin Symphony, Munich Philharmonic,
Dresden Philharmonic, the Leipzig Gewandhaus), in the USA (in particular, the San Francisco Symphony, Los Angeles Philharmonic, Pittsburgh Symphony) and in Japan (Tokyo
Philharmonic). Just as impressive is the list of distinguished conductors he has worked with:
Paavo Berglund, Riccardo Chailly, Christoph Eschenbach, Marek Janowski, Neeme Järvi,
Vladimir Jurovsky, Emmanuel Krivine, Charles Mackerras, Kurt Masur, Kent Nagano, Sakari
Oramo, Michail Pletnev, Jukka-Pekka Saraste and Yuri Temirkanov, among others.
Lugansky performs the standard key piano repertoire, focusing to some extent on Russian music. His chief domain is Sergei Rachmaninov, whose complete piano legacy, both for
solo instrument and with orchestra, he performs all over the world and has also recorded.
He has won numerous awards for his recordings (Diapason d’Or, Preis der deutschen
Schallplattenkritik, Echo Klassik etc.). In 2004 he was made Honorary Citizen of Ivanovka
(Rachmaninov’s summer residence in Tambov region, approximately 600km south-east of
Moscow) in recognition of his artistic and financial support of the estate’s Rachmaninov
Museum. Nikolai Lugansky’s impressive recording catalogue comprises practically the
complete works of Chopin and Tchaikovsky’s Piano Concerto in B flat minor with the Russian
National Orchestra under Kent Nagano (PentaTone Classics); in recent years, particularly for
Warner Classics, he has recorded chamber and concertante works by Prokofiev, Beethoven
sonatas and other chamber works (Chopin, Rachmaninov) with cellist Alexander Kniazev
(ECHO Klassik 2007).
EMMANUEL KRIVINE začal svou kariéru jako houslista, mj. získal řadu prestižních
ocenění v době studií u Henryka Szerynga a Yehudi Menuhina na Hudební akademii
královny Alžběty v Bruselu. Po setkání s Karlem Böhmem v Salcburku roku 1965 vyměnil
smyčec za taktovku a rozhodl se pro dirigentskou dráhu. V letech 1976–1983 byl stálým
hostujícím dirigentem Orchestre Philharmonique de Radio France, v letech 1987–2000
působil na postu uměleckého ředitele u Orchestre National de Lyon a současně vedl Francouzský národní mládežnický orchestr až do roku 2004. S Orchestre Philharmonique du
Luxembourg je tento dirigent rusko-polského původu úzce spjat od roku 2001 jako hlavní
hostující dirigent tělesa, od roku 2006 je jeho uměleckým ředitelem a šéfdirigentem.
Kromě zmíněných stálých angažmá hostuje Emmanuel Krivine u předních orchestrů
po celém světě. Dirigoval Berlínské filharmoniky, London Symphony Orchestra, London
Philharmonic Orchestra, amsterdamský Royal Concertgebouworkest, Tonhalle v Curychu,
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Českou filharmonii, Orchestre National de France, Evropský komorní orchestr, NHK Tokyo
Symphony Orchestra, Yomiuri Symphony Orchestra, kromě dalších také významné americké orchestry v Bostonu, Clevelandu, Filadelfii, Los Angeles, a v Austrálii orchestry v Sydney
a Melbourne. V letošní sezoně jsou to National Symphony Orchestra Washington, Orchestre
Philharmonique de Monte Carlo, Mahler Chamber Orchestra, opětovně Royal Concertgebouworkest, Filadelfský orchestr, Evropský komorní orchestr.
Emmanuel Krivine je také v současné době hlavním dirigentem ansámblu La Chambre
Philharmonique, který pomáhal vybudovat a jehož počáteční ideu zaštítil svým jménem.
Je založena na novém stylu ansámblové hry s flexibilním obsazením hráčů, kteří pocházejí
z předních evropských orchestrů. La Chambre Philharmonique debutovala v Nantes roku
2004, od té doby úspěšně hostovala s vynikajícími sólisty v Paříži (Cité de la Musique, Opéra
Royal ve Versailles), v Metzu, Grenoblu, Montpellieru. Jejich první nahrávka (Mozartova
Mše c moll a Mendelssohnovy Symfonie Italská a Reformační) na labelu Naîve sklidila velké
uznání. V roce 2010 bude Krivine řídit tento orchestr v inscenaci Berliozovy opery Blažena
a Beneš (Béatrice et Bénédict) v pařížské Opéra-Comique.
Diskografie Emmanuela Krivine (Strauss, Schönberg, Ravel, Berlioz, d´Indy, Ropartz, Dusapin atd.) s orchestry, jako jsou Philharmonia, Bamberští symfonikové, Sinfonia Varsovia,
Orchestre National de Lyon, Orchestre Philharmonique du Luxembourg, obohatí čerstvě
natočené snímky Debussyho orchestrálních děl s orchestrem dnešního večera.
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Emmanuel Krivine began his career as a violinist
and won a series of prestigious awards during his
studies with Henryk Szeryng and Yehudi Menuhin at
the Queen Elisabeth School in Brussels. After meeting Karl Böhm in Salzburg in 1965, he exchanged
his bow for a baton and decided upon a conducting
career. During the period 1976–1983 he was Permanent Guest Conductor of the Orchestre Philharmonique de Radio France; in the years 1987–2000 he was
Artistic Director of the Orchestre National de Lyon
while at the same time heading the French National
Youth Orchestra until 2004. A conductor of Russian
and Polish descent, he has been closely associated
with the Orchestre Philharmonique du Luxembourg
since 2001 as its Principal Guest Conductor and,
since 2006, its Artistic Director and Chief Conductor.
In addition to the above-mentioned permanent
engagements, Emmanuel Krivine makes guest appearances with major orchestras all over the world.
He has conducted the Berlin Philharmonic, the
London Symphony Orchestra, London Philharmonic Orchestra, the Royal Concertgebouworkest in
Amsterdam, Tonhalle in Zurich, Czech Philharmonic,
Orchestre National de France, European Chamber
Orchestra, NHK Tokyo Symphony Orchestra, Yomiuri
Symphony Orchestra, along with leading American
orchestras in Boston, Cleveland, Philadelphia, Los
Angeles, plus Australian orchestras in Sydney and Melbourne. This season he has commitments with the National Symphony Orchestra in Washington, Orchestre Philharmonique
de Monte Carlo, the Mahler Chamber Orchestra, the Royal Concertgebouworkest once
more, the Philadelphia Orchestra and the European Chamber Orchestra.
Emmanuel Krivine is currently also Principal Conductor of the ensemble La Chambre
Philharmonique, which he co-created with other like-minded musicians. The ensemble is
founded on a new style of performance involving a flexible number of players who come
from foremost European orchestras. La Chambre Philharmonique gave its debut in Nantes
in 2004 and, since that time, has been highly successful appearing with excellent soloists
in Paris (Cité de la Musique, Opéra Royal in Versailles), Metz, Grenoble and Montpellier. The
ensemble’s first recording (Mozart’s Mass in C minor and Mendelssohn’s Italian and Reformation Symphonies) for the Naîve label earned them huge recognition. In 2010 Krivine will
be conducting this orchestra in a production of Berlioz’s opera Béatrice et Bénédict at the
Opéra-Comique in Paris.
Emmanuel Krivine’s discography (Strauss, Schoenberg, Ravel, Berlioz, d’Indy, Ropartz,
Dusapin etc.) with orchestras such as the Philharmonia, Bamberg Symphony, Sinfonia
Varsovia, Orchestre National de Lyon and Orchestre Philharmonique du Luxembourg,
has recently been expanded to include orchestral works by Debussy recorded with the
orchestra performing tonight.
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Orchestre Philharmonique du Luxembourg was founded in 1933 as the Radio Luxembourg orchestra. Since that time it has been a showcase orchestra in the cultural
life of Luxembourg and was officially appointed the Luxembourg National Orchestra in
1996. The privileged position the orchestra enjoys at home is reflected in the fact that
every concert is broadcast on radio on frequency 100,7 and via the international radio
network EBU. The orchestra’s first Chief Conductor was Henri Pensis, who was followed in
the same post by Louis de Froment, Leopold Hager, David Shallon and Bramwell Tovey.
In September 2006 the position of Music Director and Chief Conductor was assumed by
Emmanuel Krivine.
The orchestra earned its international reputation not only through its regular foreign
tours to leading concert venues (this season they are performing around twenty concerts
across Europe), but also as an orchestra hosting a series of fine artists; this season 2008–
09 features an impressive line-up: Lionel Bringuier, Aldo Ciccolini, Bernarda Fink, Julia
Fischer, Rafael Frühbeck de Burgos, Nikolai Lugansky, Michael Gielen, Soile Isokoski, Janine Jansen, Sergey Khachatryan, Jukka-Pekka Saraste, Hugh Wolff and Tabea Zimmerman.
The Luxembourg Philharmonic Orchestra has over 30 CD recordings to its name, released by the French label Timpani. These recordings include the collected orchestral and
chamber works of Maurice Ohana, the complete orchestral oeuvre of Iannis Xenakis and
works by a host of other composers, many of which were premiered by the orchestra
(Ernest Bloch, Lili Boulanger, Jean Cras, Philippe Gaubert, Arthur Honegger, Klaus Huber,
Ivo Malec, Bohuslav Martinů, Gabriel Pierné, Francis Poulenc, Albéric Magnard, Albert
Roussel, Vincent d’Indy, Joseph Guy Ropartz, Sylvano Bussotti, Hugues Dufourt). To date
the orchestra has won more than 75 international awards for its recordings, among them,
in particular, the Cannes Classical Award at MIDEM 2002 (“Record of the Year”) for the
recording of Cydalise et le chèvre-pied by Gabriel Pierné, conducted by David Shallon, the
Deutscher Schallplattenpreis for its recording of the opera Le Pays by Joseph Guy Ropartz,
and several French prizes (Orphée d’Or, Académie du disque lyrique) for the premiere
recording of the opera Polyphème by Jean Cras, which was conducted by the orchestra’s
former Chief Conductor, Bramwell Tovey.
Orchestre Philharmonique du Luxembourg
obsazení pro dnešní koncert players list for tonight´s concert
1. housle 1st violin
Philippe Koch
Fabian Perdichizzi
Darko Kodzas
Daniel Anciaux
Michael Bouvet
Larry Francini
Silja Geirhardsdottir
Jean-Emmanuel Grebet
Attila Keresztesi
Darko Millowich
Gisèle Nagy
Angela Rathjen
Fabienne Welter
Bernadette Schrietter
2. housle 2nd violin
Osamu Yaguchi
Franziska Pietsch
Anatole Belikov
Jorge Cruz
Mihajlo Dudar
Julia Fedorova
Sébastien Grébille
Marina Kalisky
Slawomir Kostrzewa
Jun Qiang
Gisela Todd
Linden Xavier Vander
Rhonda Wilkinson
Barbara Witzel
viola
Ilan Schneider
Dagmar Ondracek
Kris Landsverk
Olivier Coupé
Claire Foehr
Bernard Kaiser
Aurélie Entringer
Olivier Kauffmann
Utz Köster
Petar Mladenovic
Aram Diulgerian
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violoncello
Alexandr Khramouchine
Ilja Laporev
Niall Brown
Xavier Bacquart
Vincent Gérin
Katrin Reutlinger
Marie Sapey-Triomphe
Kim Sehee
Karoly Sütö
kontrabas double bass
Thierry Gavard
Darius Wisniewsky
Gilles Desmaris
Gabriela Fragner
André Kieffer
Benoît Legot
Isabelle Vienne
flétna flute
E. Plasman
M. Brönnimann
Barbara Geiser
Christophe Nussbaumer
hoboj oboe
Fabrice Mélinon
Anne-Catherine Bitsch
Olivier Germani
klarinet clarinet
Olivier Dartevelle
Emmanuel Chaussade
Bruno Guignard
lesní roh French horn
Miklos Nagy
Kerry Turner
Marc Bouchard
Patrick Coljon
Marc Olson
K. Mascher
trubka trumpet
Adam Rixer
Isabelle Marois
Niels Vind
Toth Zoltan
trombon trombone
G. Héritier
Léon Ni
Arthur Topper
Vincent Debès
tuba
Csaba Szalay
tympány timpani
Simon Stierle
Benjamin Schäfer
bicí nástroje percussion
Béatrice Daudin
Benjamin Schäfer
Klaus Brettschneider
M. Mootz
klavír piano
Julia Knowles
fagot bassoon
David Sattler
F. Baptiste
Ch. St. Gautier
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